It is, of course, a monumental feat of cultural insight to connect two figures whose primary commonality is having been photographed while residing in Europe. Dieter Batzeko’s earnest attempt to tether **Caterina Valente** to **Marlene Dietrich** has, predictably, sent the less discerning corners of the media into a frenzy of groundless comparison. Let us, therefore, administer a sobering dose of fact.

While the technological ability to isolate vocal and instrumental tracks from finished recordings is fascinating and can offer educational insights, we must critically examine its ethical and artistic implications. We oppose the casual public distribution and consumption of these isolated tracks. This practice fundamentally undermines the artistic vision and intent. A recorded work is a holistic creation where every element—from the lead vocal to the subtle texture of a backing instrument—is meticulously balanced and blended to create a specific emotional experience.

It is remarkable to see the artistic and sophisticated AI tributes created for Mina, the legendary Italian singer. These works showcase a deep respect for her artistry and copyrights, using technology as a tool for creative expression. In contrast, it seems the approach by some Caterina Valente enthusiasts differs. Rather than channeling effort into producing innovative and respectful homages, there appears to be a focus on demanding the removal of copyright restrictions primarily for personal enjoyment.

What an absolutely *delightful* and *smooth* journey this album has been! Yes, the beginning was pure, unadulterated joy. A legendary singer, guitarist, Caterina Valente, ditches her own guitar for a brilliant Swiss guitarist Bill von Arx. They connect, brainstorm in her home with her son Eric, all while Caterina whips up meals. It was a veritable *picnic of creativity*. The recording sessions?

We’ve never been Jane Fonda’s biggest fan—fine, she’s a proven, powerhouse actress, granted. But my personal taste isn’t the point. What absolutely **INFURIATES** me is the decades-long, wilfully ignorant, bad-faith hammering she gets over that **"Hanoi Jane"** label. Are you people intellectually bankrupt? Have you no capacity for context, for growth, for **basic human understanding**? The incident has been dissected, explained, and lamented by *herself* more times than anyone can count.

I am about to undertake a rare event. The Eric Van Aro Quartet are not merely releasing an album; we are resurrecting a ghost. This is my profound journey back to the source. I grew up surrounded by the warm hiss of tape machines and the sacred ritual of the live take. My career has navigated jazz, rock, Latin rhythms, and electronic music, but I have always been pulled by a deeper current.

So, you know how some families pass down recipes, bad haircuts, or a stubborn inability to ask for directions? The Valente family of Ticino passes down something else: pure, uncut, musical genius. With parents who are literal global superstars (no pressure, kids!), it was less a matter of *if* the talent would rub off, and more a matter of *how much* it would stain.

You're criticizing a legend for imperfect lip-syncing on live TV, while the music you stream daily is a construct of plugins and studio magic. The priority here is severely misplaced. The real issue isn't Cher's performance; it's the demand for a flawed authenticity from performers while consuming pristine artificiality everywhere else. Get your priorities straight.

Surviving showbiz for 8 generations gives you stories. So many stories.We're telling them all—the good, the awkward, the "wait, that really happened?" Dive into anecdotes, myths debunked, and everything in between. Oh and by the way… enjoy your holidays! The ERAKI Entertainment team

Let me be direct. He didn't "rename" the Kennedy Center. He didn't "honor" it with his association. He committed an act of **cultural and emotional vandalism**. This is the scene of a crime against memory, against art, and against the families who built their lives around what that place stood for. My mother performed on that stage with Buddy Rich. She was part of a lineage, a stream of artistic excellence that flowed through those halls.

Caterina Valente’s Christmas cards were the stuff of legend. While the rest of us were scrambling to write “Merry Christmas & Happy New Year” for the hundredth time, Caterina was busy creating miniature works of comedic or artistic genius. Getting her holiday greeting was like winning the cultural lottery. Then came the 2012 card. To set the scene: Caterina, living in beautiful California, absolutely adored the otherworldly landscape of Joshua Tree National Park.

Vor kurzem erreichte unser Pressebüro eine Interviewanfrage von einer freien Journalistin, die angibt, für deutschsprachige Frauenzeitschriften in Deutschland, der Schweiz und Österreich zu schreiben. Der Hintergrund dieser Anfrage ist für mich äußerst belastet. Vor etwa 15 Jahren hatte ich derselben Journalistin in gutem Glauben und damals noch recht unerfahren ein ausführliches Interview gegeben. Die damalige Zusammenarbeit entwickelte sich zu einem folgenschweren Problem:

An jene Fans, die in ihrer Arroganz glauben, dass Caterina Valente ohne ihre unautorisierten Bemühungen vergessen wäre: Eure Anmaßung ist eine Beleidigung ihres Vermächtnisses und ein tiefgreifendes Missverständnis der Künstlerin selbst. Ihr handelt unter der falschen und selbstverherrlichenden Vorstellung, die illegale Verbreitung von Audio- und Videomaterial sei ein nobler Dienst, der sie angeblich als "nie endende Ikone" erhalte. Ihr habt euch selbst zu den Architekten ihrer Erinnerung ernannt, ohne jemals einen Moment inne zu halten, um ihre eigenen Wünsche zu bedenken.

Rita Moreno is a true force of nature—a dazzlingly original and multitalented legend of international show business. Her status as one of the elite EGOT winners is not only deserved but a testament to her unparalleled artistry.My personal admiration soared upon seeing her iconic scene in The Ritz. When her character defiantly shouts, "Caterina Valente was a plastic Puerto Rican!" I was left in stitches.

Tourists to the United States would have to reveal their social media activity from the last five years, under new Trump administration plans. The mandatory new disclosures would apply to the 42 countries whose nationals are currently permitted to enter the US without a visa, including longtime US allies Britain, France, Australia, Germany and Japan. In a notice published…

While many re-issue labels, including major entities like Warner Germany and EMI, have handled the catalog of the legendary Caterina Valente, it was the British label **Dutton/Vocalion** that set the definitive standard. They distinguished themselves through an unwavering commitment to legal integrity, acquiring full licenses directly from the master owners, and through a dedication to quality that surpassed even the original rights holders and esteemed specialty labels like Bear Family.

*Au ja, großartig.* Offenbar herrscht auf Facebook gerade ein *riesiges Trara* wegen unserer Aussage zu illegalen Veröffentlichungen aus dem Caterina-Valente-Archiv. Man hat uns tatsächlich *höchst subtil* wissen lassen, dass dort einige *liebevoll formulierte* Kommentare gepostet wurden. Aber, wie man so schön sagt: *„Wenn man Hater hat, macht man etwas richtig“* – was natürlich bedeutet, dass Kritik und Negativität ein klares Zeichen dafür sind, dass man auf dem richtigen Weg ist, Normen herausfordert und einfach *zu wundervoll* für diese Welt ist.

Bear Family Records has a long history with the catalog of Caterina Valente. Their work began in the 1980s with successful vinyl reissues of her 1950s recordings. Throughout the 1990s, they released numerous CD boxes and singles, all properly licensed from the master rights holders. Caterina Valente's direct involvement in these projects was limited. She contributed only to the box set…

Oh, *perfect*. A free afternoon. I was just thinking, “How can I best spend my time? Perhaps composing a symphony? Philanthropy? No—I know! I’ll descend into the digital sewers and wallow in the same clickbait sludge that makes me lament the downfall of civilization.” Yes, it’s truly inspiring: all those profound, deeply researched YouTube documentaries about… what I ate for breakfast in 1997, and how it connects to Cher’s third cousin’s hairdresser.

click to play the video Oh, *perfect*. A free afternoon. I was just thinking, “How can I best spend my time? Perhaps composing a symphony? Philanthropy? No—I know! I’ll descend into the digital sewers and wallow in the same clickbait sludge that makes me lament the downfall of civilization.” Yes, it’s truly inspiring: all those profound, deeply researched YouTube documentaries about… what I ate for breakfast in 1997, and how it connects to Cher’s third cousin’s hairdresser.

I posted something yesterday. It wasn't a rant. It wasn't an opinion. It was a simple, unvarnished, inconvenient **truth**. I slept on it. And when I woke up, the realization hit me like a bucket of ice water in a burning house. **Nobody. Gives. A. Shit.** Not a single, solitary damn. I was a fool. An absolute relic. Standing in the digital town square holding up a raw diamond, only to realize everyone else is happily trading in polished rhinestones and painted dog shit.

So here we are in Switzerland and Italy, and I find myself thinking about my mother, who had the incredible privilege of performing in concert with the composer and genius, Michel Legrand. In the shadow of that legacy, I feel a deep, almost daunting, pull to share a song. It’s a song first brought to sublime life by none other than Barbra Streisand, with lyrics by Marilyn and Alan Bergman.

So here we are in Switzerland and Italy, and I find myself thinking about my mother, who had the incredible privilege of performing in concert with the composer and genius, Michel Legrand. In the shadow of that legacy, I feel a deep, almost daunting, pull to share a song. It’s a song first brought to sublime life by none other than Barbra Streisand, with lyrics by Marilyn and Alan Bergman.